Saludos, Tangled Amigos
by Monolaf317
Summary: The Tangled characters visit places present in Saludos Amigos.
1. Chapter 1

"Tangled Up In Lake Titicaca"

Lake Titicaca has been prominent in Inca history and folklore for generations.

Wood is scarce at this altitude, so the fishermen's boats are woven of balsa reeds.

There's always plenty of colour and excitement here on market day. These folks come from miles around to trade their goods and swap some of the local gossip. The styles run to bright-coloured clothes and conservative hats, and a rumble seat for the baby. Just the kind of material the artists were after.

Their music is strange and exotic - melodies handed down from their Inca ancestors. And walking haystacks are right in tempo. These little syncopated burros bear the heavy burdens here because the more dignified llama will carry just so much and no more. When his quota is exceeded, that haughty aristocrat of the Andes calmly sits down and refuses to budge. Yes, a llama can make you feel awfully unimportant.

All these impressions, together with the local colour absorbed, resulted in a little travelogue, seeing the land of the Incas through the eyes of a celebrated Coronian/German tourist.

(After the slideshow of pictures, we see Rapunzel sitting on a stone sign of Lake Titicaca, which says "Lago Titicaca-Altura 3812 Metros", looking out with binoculars)

Lake Titicaca is approximately 13,000 feet above sea level.

"_Thirteen-thousand feet?!_" (she turns around and drops her binoculars)

Mm, approximately.

At this great height, many visitors are subject to altitude fever, or, _soroche_.

"Is that so?"

The most common symptom is dizziness.

"Dizziness? Pfft! Nah!" (she waves her hand dismissively)

(After she says that, we suddenly see Rapunzel get a dazed look on her face as she has seemingly "split" into a duplicate version of herself. An illusion? The "copies" look at each other, appear shocked, then hug themselves right back into one person.

She falls off the sign front-first down onto the ground.)

Often followed by a palpitation of the heart (Rapunzel tries to prevent her beating heart from bursting out of her chest)…

The ears have a tendency to pop (Her ears visually pop rapidly)…

And a peculiar ringing sound is heard (Her hat turns into a bell momentarily and rings strongly against her head).

Ha-ha. Fascinating, isn't it? (She gives us the glare that just _screams_ "She is most certainly not amused.")

(We cut to Rapunzel and Pascal looking at a peculiar boat)

The balsa, or basket boat, is constructed entirely of reeds tightly bound together.

It's built to withstand the fury of the elements.

(Rapunzel and Pascal step onto the boast)

In fact, it seems to be impervious to practically everything.

(Not sure how it works, Rapunzel pulls a straw connected to the dock…and the whole boat come apart. They both land in the water with a splash)

Except the inquisitive tourist/Princess. (Pascal glares at a sheepish Rapunzel)

Crossing the lake is often an adventure. (Now sailing on the balsa properly, Rapunzel gets the sail up)

A strong wind may arise very suddenly… (Wow, look at them go!)

…And then stop suddenly. (Know the rules of inertia? Balsas don't have seatbelts! Pascal flies out even further into...)

In the village we find this quaint old bakery, where the tourist and her pet may loaf around to their heart's content. (Quite literally so. Or not. Poor Pascal does not enjoy being rolled inside dough!)

For the artist in search of local colour, the marketplace presents a picture of village life as shoppers and merchants bustle about the public square. (Rapunzel takes a picture of some vases)

The precipitous terrain in this region offers no problem to these hardy folk, and we find the people here divided into two classes-those who walk against the wind… (Rapunzel leans forward to take a picture of a person leaned forward)

…And those who walk with the wind. (Attempting to take a picture leaning backwards is very unstable, near impossible! Punzie falls flat on her back, almost squishing Pascal!)

Wherever the visitor points her camera, she finds a picture fit for framing. (The _baby_ took out a camera and snapped a photo of _Rapunzel_ with his own camera! She seems quite surprised!)

The llama is an odd-looking individual with considerable personality. (Sitting peacefully, but do not deceive him!)

His master here exercises complete control over him with a home-made flute. Let's see how he responds to a few notes up scale. (The llama stands)

And down scale. (The llama sits)

Up. (The llama stands)

Down. (The llama sits)

Now to a circular pattern. (The llama walks around in said pattern from the tune)

Or reverse. (The llama walks around in circular pattern from the tune, albeit backwards)

"Wow. It's amazing." (Rapunzel says. Pascal looks a bit wary of the llama though.)

Note how the crude sign language used by our Princess is quickly interpreted  
by this wide-awake youngster. (Rapunzel removes her hat and they both bow-the water from the canteen the boy was carrying on his back pours right into the hat, and guess what happens when Punzie puts the hat back on her head. _Brr-rr-r!_)

The visitor never seems to be satisfied until she tries on the native costume, and our tourist is no exception. (The two have switched outfits. She looks so silly in that! But don't tell her!)

(Rapunzel attempts to play the same tune as the boy-and horrible off-key notes come out. Pascal covers his ears. The llama cringes.

The off-key notes turn into something like some weird jazz music-the llama starts dancing, all against his will. When the song is done, he tumbles to the ground, glaring at Rapunzel in anger.)

The llama is obviously not a jitterbug…

(Later, Rapunzel is continuing to play while riding the llama-so is Pascal-while the llama is walking up the mountains.)

But if you want to explore this country, he'll solve all your transportation problems.

(Rapunzel, now better at flute playing, keeps playing while the llama walks up the mountain. The two head into a huge fog, oblivious to the ditzy Princess.)

One soon becomes accustomed to the low fleecy clouds that steal like silent ghosts across one's path.

(When the fog begins clearing up, it shows the two, with Punzie still obliviously playing the flute, walking a rickety bridge above the town.)

The gentle undulating gait of the llama adapts itself very nicely to the swaying motion of the suspension bridge.

"_Suspension bridge?_" (she realizes, then looks down. She and Pascal leap up onto the llama's neck, just in case. They point downward.)

Far below us, we see the village.

(They slip off the llama's neck when said creature looks down, plummeting downward, but then tightly cling on the rope.)

"The flute." (she remembers)

(The Flute nearly slips out of her hands, so she has one hand cling onto the rope, and the other playing the flute.

She plays the flute rapidly, then the llama, by the flute's command, pulls the two up quickly. However, half of the bridge pieces piles up while it is near the creature. She then notices the llama with the flute before playing it badly-just like how she had done it- in a mocking tone.)

"Gimme that flute, you big palooka-." (Offended, she quickly snatches the flute, though it causes her and the wood pile to fall down.)

"UWAAH-WAAAH!"

(She dashed upward, clinging back to his neck. The three look below, noticing the wood pieces heading downward to the town. The llama only smirks at Rapunzel and Pascal before preparing to walk forward, with Rapunzel noticing no wood in front of them.)

"Take it easy. Whoa, WHOA!"

(Snatching some wood, Rapunzel quickly tries to make the llama through the wood, though she goes too fast. Pascal uses his tongue to stop Rapunzel and make her notice. She gasps, noticing the llama, standing by the ropes still tied, not falling.)

"AH!"

(She quickly went back with the wood, though both collided to each other, making themselves lose all, but one piece of wood, which Rapunzel stood. Pascal uses his tongue again to alert Punzie.)

"DOUBLE AH!"

(Then she grabs the wood, hopping toward the llama, whom jumped on top of them. Rapunzel and Pascal grunted, trying to hop with llama on her back while losing the wood on herself as well as all the other wood that wobbled from the bridge with the ropes dangling and the two hanging on.)

The traveler should avoid reckless behaviour at this high altitude. Overexertion is dangerous…

And above all, one should never lose one's temper.

"Shut up, you big windbag." (She yells at me)

(She grunted, trying to reach the other side while shouting to the llama.)

"Hey. Get offa me. Come on. Beat it. Off. Ow, my back."

(She grunted more before the llama finally hopped safely to the other side. When he did, the rope on Rapunzel's hands break, making her yelp and wince. Just then, the ropes on her legs break off. Quickly and swiftly, the princess grabs the rope.)

"Got it!"

(She then ties the ropes with her arms tightly, though due to her _arms_ literally tied up, the ropes fall apart, making Pascal realize too late, Rapunzel even more too late. They fall when they realize so.)

And finally the pottery market, where the visitor always drops in (figuratively _and _literally!), seldom failing to accumulate a large collection of the native handiwork as she bids a fond farewell to the land of the Incas, Lake Titicaca. (We watch Rapunzel and Pascal paddle off into the sunset with those pots!)


	2. Chapter 2

From the windswept plains of Montana to the sunbaked banks of the Rio Grande, over countless miles of mountain and prairie, untouched and unsullied by the mercenary hand of civilization, roams a tough, hardy and heroic breed of man, the Coronia/German cowboy, strong, silent and weather-beaten.

"…Strangers." He's deadpan, as usual.

Come on, be cheerful.

"Howdy, strangers."

Oh, you can do it!

"HOWDY, STRANGERS!" (he forced his voice up a couple octaves with a smile!)

There, now that's more like it.

This colourful cowhand of the European has his counterpart in the South American gaucho.

Over land and sea, over rugged mountains and dense jungles, down across the equator  
to the lush grassy pampas of the Argentine, the home of the gaucho.

Now, the cowboys of both Coronians/Germans have much in common, although their costume differs in a few minor details.

We substitute bombachas for chaps. (It falls on his body.)

Sombrero.

Then there's the saco.

The tirador.

The chirip.

And the pauelo. (All those clothing articles are just piling up on him!)

Then finally we have the poncho, which just about covers everything. (He doesn't look so okay with all the apparent sudden weight on his body!)

A gaucho's closest friend and inseparable companion is his horse, or pingo. (Maximus looks at us, as if saying "I-hate-you-for-representing-me-like-this")

Quickly the gaucho grabs his lasso. Twirling it above his head, he tosses it about the horse's neck and easily subdues him (yes Maximus, we know it looks painful) with the help of the snubbing post, or palenque.

Thanks to the palenque, or snubbing post, the horse is soon brought under control and is ready for the saddle.

While it appears complex at first glance, the recado. or saddle, is really simplicity itself.  
In saddling the horse, or pingo. the gaucho simply lays a foundation of sudaderos and rosaleros.

Adding the cinchos.

Bastos,

Sheepskin,

Pigskin,

Bridle,

Bit (all falling on top of him!),

And finally, the gaucho. (Poor Maximus!)

When riding the range at night, the saddle may be quickly converted into a bed, or catre.

"Bed?" (Translation for Maximus' suddenly interested snort. He flips onto his back with a neigh, squashing poor Flynn underneath!)

* * *

One of the gaucho's favourite sports is the _asado_, or Argentine barbecue.

"That sure is a fancy name for it." he says.

Over an open charcoal fire, thick, juicy, tender steaks are prepared and it fairly melts in your mouth.

The gaucho's method of eating looks simple, yet requires a certain amount of practice.  
The bread and meat are held in one hand, the knife in the other.

Note the action of wrist and elbow as knife and food synchronize in deft, graceful rhythm.

One, two, bite, cut, chew.

One, two, bite, cut, chew.

It is this wholesome diet that builds the gaucho's nerves of steel and muscles of iron. (No pun intended—he takes a big gulp, and we hear a _clang_ sound! Flynn looks and sees that he bit off and swallowed part of the knife! Oh, just think of the consequences that could have on his digestive tract!)

* * *

And now the boleadoras, or bolas, for short.

It consists of three lead weights covered with rawhide and is often used for sports such as capturing the Argentine ostrich, or _avestruz_.

Unlike most members of the ostrich family, the _avestruz_ has no ornamental tail plumage.  
Its slender legs make excellent targets for the bolas.

"Did he say bolas?" (the ostrich speaks)

Dashing at breakneck speed, the gaucho whirls it round, faster and faster, and then the throw.  
Straight it flies to its mark, and the swift bird is captured and tied all in one operation.

(Lets reverse the video…)  
And now, to fully appreciate this remarkable feat, let us study the action from the eye of the slow-motion camera.  
Note the grace and beauty of this light-footed creature in startled flight.

With delicate balance and clock-like precision of timing, man and beast moving as one display a minimum of waste motion as the whirling bolas are unleashed.

(This is gonna take forever, so lets put it on fast-forward.)  
Faster and faster, on and on they spin, closer and closer.  
Here they come. Get out oftheway.  
Watch itLook outHereitcomes. Toolate.

* * *

And when night... (AHEM)  
When night falls, the lone gaucho of times finds himself far out on the pampas.  
Listen to the melancholy strains of the triste, a sad romantic ballad.

"Boy, I'll say!"

But the gaucho is not always sad.

"Really?"

Come, let us dance to the lively beat of the chacarera, the dance of the farmer's daughter.  
Combining the minuet, the bunny hug and a dash of jumping jive - the pampas version of cutting a rug. (This ought to be good.)

And el malambo. a solo number in which the dancer swings out with utter abandon, often described as perpetual motion below the equator. (Maximus…he sure dances like horse!)

El pala pala - traditional dance of the rooster and the hen. (OW! OW! OW! Maximus is stepping on Flynn's feet!)

And now as he sways to the gentle undulations of el malambo. ("Gentle", yeah right! Maximus accidentally bucked him in the process!)

We gently(?) waft our transplanted cowboy back to his prairie homeland.  
Here we leave him, with warm and tender memories of his visit to the gay, romantic land of the gaucho. ("Aw, beat it!" Flynn says.)


End file.
